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_Mark_J_Peterson_
Known Participant
November 28, 2008
Question

notebook display for image editing?

  • November 28, 2008
  • 24 replies
  • 11582 views
Hi. Is there a high-end wide-gammut notebook display for color-critical image editing ?
What notebook would you recommend if you HAD TO recommend one ?
thanks.
    This topic has been closed for replies.

    24 replies

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    _kokii_
    Participating Frequently
    December 5, 2008
    Thank

    >>If you have ProfileMaker5 (or 4): Compare gamuts<<
    sorrow. i dont have...

    could you make printscreen [3d GamutView by different graphics] for me with ISOCoated and Euro scaleCoated inside oRGB between aRGB?

    i very assessor this
    G
    Gernot_Hoffmann
    Participating Frequently
    December 5, 2008
    Kokii,

    the gamut volumes of ISOCoated and EuroscaleCoated
    are entirely inside the volume of oRGB=OptiRGB.

    Nothing wrong, using oRGB, besides the fact that we
    will be the only users ...
    For other readers: oRGB is a wide-gamut RGB space
    with spectral color primaries (real colors).

    If you have ProfileMaker5 (or 4): Compare gamuts
    in ProfileEditor, GamutView by different graphics.

    Best regards --Gernot Hoffmann

    Referring to my previous post:
    not Cancíon but Canción.
    Christian_Davideck
    Christian_Davideck
    Known Participant
    May 23, 2009

    Gernot Hoffmann wrote:

    Nothing wrong, using oRGB, besides the fact that we
    will be the only users ...

    I was thinking ... does it matter at all, if we were the only users ... ? As long as we embed the profile into the files, I can't see any problem with this, right ?

    G
    Gernot_Hoffmann
    Participating Frequently
    May 23, 2009

    Christian,

    thanks for being interested in my stuff:

    The data for OptiRGB and the 2D gamut version are shown

    here, p.17:

    http://www.fho-emden.de/~hoffmann/swatch16032005.pdf

    The profile can be downloaded:

    http://www.fho-emden.de/~hoffmann/OptiRGB.icc

    It would be simple, drawing a 3D visualization:

    http://www.fho-emden.de/~hoffmann/gamshow15052009.pdf

    OptiRGB has been an exercise - a wide gamut RGB space

    with real, physically possible primaries.

    ProPhotoRGB isn't that bad - in some cases it seems to be

    a practical solution:

    I had printed page 9 of the following PDF, where the colors

    are defined by CIELab:

    http://www.fho-emden.de/~hoffmann/munsell15052009.pdf

    Though I'm using high end equipment (better no name, the RIP

    isn' an Adobe product), the result was not convincing.

    IMHO CIELab isn't treated as it should be.

    Then I converted the PDF by Acrobat 8 into ProPhotoRGB

    (pRGB), but without being able to assign anywhere a rendering

    intent. I think, in this case it's OK, because pRGB has

    white at D50 and they grays are reaching from L*=0 to L*=100.

    The printed result, now using pRGB as input profile in the RIP,

    with rendering intent Absolute Colorimetric on almost neutral

    paper, was considerably better.

    The ProPhotoRGB file, loaded by Photoshop, echoes  the correct

    Lab values - within 1 unit accuracy, despite only 8 bpc numerical

    resolution.

    If somebody wants to continue the discussion: I'm asking politely

    for a direct personal post via

    MyFamilyName-with2n@fho-emden.de

    because I don't like the new forum style.

    Best regards --Gernot Hoffmann

    _
    _kokii_
    Participating Frequently
    December 5, 2008
    THANK for this link Gernot Hoffmann.

    I have a question to you: your profile oRBG are he good to make convert to profile euro coated?

    thank
    G
    Gernot_Hoffmann
    Participating Frequently
    December 5, 2008
    Ramón,

    I'm really happy that I found something where we
    can agree ! Meanwhile some typos were corrected.
    Please don't call me Prof. - I'm not posting as
    a scientist here. Monika is my wife.
    I started learning Spanish three months ago, but
    I know these lyrics since many many years.
    By Enzensberger's Museum der modernen Poesie and
    by Paco Ibañez. At least Enzensberger's translations
    are IMO pretty good (Lorca, Cancíon).
    Here are some other examples, including Cancíon,
    but only in Spanish:
    http://www.fho-emden.de/~hoffmann/howww41a.html

    Best regards --Gernot Hoffmann
    Ramón G Castañeda
    Ramón G Castañeda
    Inspiring
    December 5, 2008
    Thank you for that. Alberti has long been one of my favorites. The translation into German is barely satisfactory, within the limits of the paradox of literary translation, namely that it is both impossible and necessary at the same time.

    The painting by Monika Hoffmann is beautiful and particularly appropriate. May I ask what the relationship to Prof. Gernot Hoffman is?
    G
    Gernot_Hoffmann
    Participating Frequently
    December 4, 2008
    The really important color is white - says the poet.
    http://www.fho-emden.de/~hoffmann/blanco04122008.pdf

    For the Spanish (and German) speaking readers.

    Best regards --Gernot Hoffmann
    Ramón G Castañeda
    Ramón G Castañeda
    Inspiring
    December 3, 2008
    Needless to say, I'm absolutely not in the Margulis camp myself. It was a relief to read his name in connection with this perceived issue, making it a non-issue.
    A
    Anonymous
    December 3, 2008
    Amen and hallelujah...
    Ramón G Castañeda
    Ramón G Castañeda
    Inspiring
    December 2, 2008
    Aaaaaaaaaaaaah jetzt werde ich ruhig sclaffen können. :D

    >Following Dan Margulis, Professional Photoshop, optimal offset printing results are achieved by final editing in CMYK.

    None of which is remotely relevant to my workflow. I'll sleep well tonight. :)
    G
    Gernot_Hoffmann
    Participating Frequently
    December 2, 2008
    Kokii,

    the profile is here:
    http://www.fho-emden.de/~hoffmann/OptiRGB.icc

    As already explained - an exercise. Personally,
    I'm doing everything either in sRGB (simple appli-
    cations) or AdobeRGB (high quality).
    Furtheron, it's always possible to improve images
    in Lab and CMYK.
    Following Dan Margulis, Professional Photoshop,
    optimal offset printing results are achieved by
    final editing in CMYK.

    Best regards --Gernot Hoffmann
    A
    Anonymous
    December 3, 2008
    Aaah, yes...Margulis -- the king of 700-step arcane workflows; sworn enemy of ICC color management, high-bit workflows, wide-gamut color spaces and Raw rendering too, just to cap it all off nicely with a bow. A true trailblazer...back to the stone age!

    Let's just say that his "optimal" is not exactly *my* optimal. Hopefully, he'll just retire soon and thus charitably spare us any more of his bright insights, inside some "canyon" or elsewhere.
    Ramón G Castañeda
    Ramón G Castañeda
    Inspiring
    December 2, 2008
    Well, I've carefully read Prof. Hoffmann's post and his PDF.

    While his description of the ProPhoto RGB space seems beyond reproach, and I have no quarrel with any of it, I still see nothing in there to explain why, in actual practice, those of us who have been advised by diverse authors to work in ProPhoto RGB, and have actually done so for years for all our digital photography work, carefully remaining in a 16-bit workflow and ever mindful of the constraints of inkjet and continuous-tone printers, should change our workflow now.

    My current ProPhoto RGB workflow certainly beats the results I (used to) get from my old Adobe RGB workflow, let alone the sRGB workflow required by non-pro local labs.

    Now, with 16-bit printing in Photoshop 11 ("CS4") on the Macintosh platform, I feel even more confident and am getting improved results. I'm impressed that Adobe gave us this advanced feature, which more than compensates for the lack of 64-bit functionality.

    It's good to see disaster downgraded to mere ugliness now, :), and I would welcome any corrections to my way of thinking here.

    There must be something I'm missing here, doubtlessly due to my own personal limitations.

    Any further input will be most welcome.
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